Further readings for the Canon EOS 5D Mark III

To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.

Canon has rocked the camera market unveiling the world’s highest resolution DSLR cameras, the 5DS and 5DS R. With both models packing an incredible 50.6Mp resolution the new Canon 5DS R also includes a low-pass cancellation filter for even sharper and more detailed images. Is this a game changer for the DSLR market? Let’s get under the hood to find out.

Canon has announced an updated version of their compact super telephoto zoom lens. The new EF 100-400mm f/4.5-5.6 L II USM boasts a number of upgrades over its predecessor, which Canon claim improve both the image quality and handling of the new version. We preview what this latest lens has to offer and see how the original version performed in the DxOMark Lens tests.

Sony introduced this ultra wide-angle full-frame zoom for the A7 series cameras at this year’s Photokina. With a constant f4 maximum aperture this new stabilized model looks compelling on paper, but just how well does this it perform in the lab? Read on to find out.

Equipped with a new 20-Mpix APS-C CMOS sensor and dual-pixel CMOS AF system, Canon’s latest DSLR is the long-overdue update to the flagship EOS 7D model. Read on to find out how the new 20-Mpix sensor performs.

Launched a little over 2-years ago, the first Zeiss Otus model was a triumph in optical and mechanical perfection, and now Zeiss has added a second model to the range, and high speed 85mm with a heady mix of six anomalous dispersion glass elements, one asphere and a floating system to reduce aberrations at close range. Read on to see how well this new exotic model performs.

Nikon has enjoyed phenomenal success with both the Nikon D800 and D800E models, and particularly so with latter model with its unusual optical low-pass filter that cancels out the anti-aliasing effects. So it comes as little surprise to see the usual mid-term update, the D810, consolidates the two by offering a newly developed full-frame 36-Mpix sensor without optical low pass filter. We’ve had the opportunity to put the new camera through its paces this summer in our Paris-based labs. Read on to find out how well the sensor in this new revamped model performs.

With a full-frame 18-Mpix CMOS sensor and twin Digic 5+ processers that’s capable of continuous bursts of up 12 fps – the fastest of any professional DSLR currently - the Canon EOS-1 Dx is the firm’s flagship press camera. We’ve assessed it with over 100 EF mount lenses, to see how well they perform. Read on to find out which models are the best optically and which, if any, you should avoid.

Now that the World Cup is underway in Brazil we thought we would turn out attention to well-known two teams battling at the side of the pitch. In the white strip we have the Canon EOS-1 D X and the Nikon D4S are sporting all black. Read on to see for yourself how these two teams compare and how well they perform when put to the test.

Canon has announced new wide-angle zoom lensesin both their L-series professional line-up and EF-S consumer range. With both lenses boasting new features, and slightly cheaper prices than current options, it’s an exciting announcement for Canon shooters who like to go wide. We preview the specs’ and look at the DxOMark Lens Scores for Canon wide-angle zooms already on the market.

At less than half the price of the marginally wider, slightly faster Zeiss 24-70mm f4, this in-house Sony model looks like a tempting alternative, but can it meet the demands of the high-resolution sensor in the A7R? Read on to find out.

We’ve had the opportunity to test the new ultra-high speed Samyang 24mm F1.4 prime, and thought we would alter our usual review format to take a look at the best lenses for Canon full-frame users. Read on to find out how well the Samyang performs in our tests and if that or a rival model is the best choice.

Tamron has released a new modestly priced, stabilized super-telephoto zoom for both full-frame and APS-C cameras, the SP 150-600mm f5-6.3 Di VC USD. How does this $1,100 model compare against the slightly shorter-range Sigma and Canon offerings?

Nikon’s retro styled Df harks back to the days film externally, but the metal shell with its plethora of dials and buttons conceals a state-of-the-art 16-Mpix CMOS sensor intended for the worst imaginable lighting conditions. Read on to find out how this new addition to the range performs.

The Sony Alpha 7R is the most expensive of the two full-frame Alpha 7 mirrorless models announced earlier in the month. Externally the two share the same body and much of the same feature set, but, where the A7 adopts a 24-Mpix sensor with on-chip PD-AF capability, the Alpha 7R has a 36-Mpix CMOS sensor without an optical low pass filter for optimal image sharpness. Read on to see how well the sensor in this new model performs.

Sigma’s has recently revamped the 120-300mm f2.8 DG OS HSM as new high-grade Sports series model. It’s a promising combination offering far more flexibility that a 300mm f2.8 prime yet at $3,599, it’s close to half the price of a prime. Read on to see how well this unique lens performs.

In less than a year the Nikon D610 replaces the hugely popular full frame 24mpix D600 and features a new, improved shutter mechanism and some minor improvements to the auto white balance system. Although the firm didn't announce any improvements to the sensor and imaging pipeline, we were intrigued enough to put it through our labs to find out.

This is the third and final installment of a three part series on choosing the most suitable lenses for Canon’s entry-point into full frame photography, the EOS 6D camera. The 20-Mpix CMOS sensor used by the EOS 6D is similar in architecture to that in Canon’s hugely popular full-frame EOS 5D Mk III, a camera that we’ve shown to be highly efficient at exploiting both the sensor and lens, resolving detail above what might be expected. Although that particular model has a slight edge in pixel count, the more sensitively priced EOS 6D should perform similarly. To help you make the right choice when selecting lenses, we’ve had the opportunity to analyze the data from over 95 models on the EOS 6D.

Super-telephoto lenses like these are indispensible for shooting action, sports and wildlife but their high price and limited versatility restricts accessibility to the average user. Most are to be found in the hands of photojournalists working on behalf of picture agencies, but it’s also true to say that a fair number are used by wildlife photographers including working professionals and well-heeled enthusiasts. Read on to see if the current iterations deserve their celebrated status.

In the lead up to Photokina 2012, Canon announced the new Canon EOS 6D full-frame entry-point model within days of Nikon publicizing their most-affordable full-frame camera to date, the 24-Mpix D600. While the EOS 6D boasted some attention grabbing features including built-in WiFi and GPS and slightly undercut the Nikon on price, it couldn’t match its rival in one or two key areas, namely the less populated AF system and lower resolution sensor.

This is the first of a three part series on choosing suitable lenses for Canon’s entry-level full frame camera, the EOS 6D. The 20-Mpix CMOS’ sensor used is similar in architecture to that in Canon’s hugely popular full-frame EOS 5D Mk III, a camera that we’ve shown to be highly efficient at exploiting both the sensor and lens, resolving detail above what might be expected. Although that particular model has a slight edge in pixel count, the more sensitively priced EOS 6D should perform similarly. To help you make the right choice when selecting lenses, we’ve had the opportunity to analyze the data from over 95 models on the EOS 6D.

Tamron’s new full-frame high-speed standard zoom won plaudits for its high image quality and balance of features for the price. However, while the Sony Alpha mount version similarly includes an ultrasonic type AF motor, it doesn’t have the optical stabilization feature because of the stabilized sensor platform of the Alpha camera bodies. Read on to see how well this revised version performs on the Sony SLT Alpha 99.

In the lead up to Photokina 2012, Sony announced a revised version of their 300mm f/2.8G SSM adding Nano AR coating and full AF compatibility with the firm’s flagship full-frame Sony SLT Alpha 99. Read on to see how well this newly updated lens performs on their new top-of-the-range camera.

First seen at the Olympics in London in 2012, the Canon EF 200-400mm f/4 IS USM Extender 1.4x is a pro-oriented super-telephoto zoom with a built-in 1.4x tele-converter. Engaging this extender converts the zoom into a 280-560mm f/5.6 on a full frame camera, making this one of the most versatile lenses in the firm’s line up. Read on to see how well this $11,800 zoom performs with- and- without the 1.4x converter engaged while mounted to the Canon EOS 5D Mk III.

After comparing the imaging chain of the full-frame Canon EOS 5D Mk III across a raft of lenses, we’ve now turned our attention to the APS-C format EOS 700D / REBEL T5i / Kiss X7i. The 18.1-Mpix ‘Hybrid CMOS’ sensor in this camera is similar to those of the same size and pixel count used in the firm’s other models, including the semi-pro EOS 7D, so it may still be of interest even if you don’t own a EOS 700D / REBEL T5i / Kiss X7i.

Announced in early 2011, the Canon EF500mm f/4L IS II USM and EF600mm f/4L IS II USM are updates to two highly respected lenses aimed squarely at professional wildlife and sports photographers, or those who want the best image quality possible at these focal lengths. These Mark II versions aim to take everything that was good about their predecessors and turn them up to the max.

Following on from our series of selecting the best lenses for the Nikon D800 with its potential for massively detailed images from the 36Mpix sensor, we’ve now turned our attention to that camera’s younger sibling, the 24Mpix D600.

There are only a small proportion of photographers who can really justify buying a lens that costs the same as a small car, but if you really need a 400mm f2.8 lens then the chances are that you are going to get yourself one. To stick with the motoring analogy: Canon’s EF 400mm f2.8L IS II USM is not at all like a small car, it is rather more like a Formula 1 Racing car.

The second in our series of selecting the best-quality lenses for your camera concentrates on one of the most highly-anticipated cameras of our time, the successor to the hugely popular EOS 5D Mark II. But by the time it was announced, in early March, it’s probably fair to say Nikon had taken fair amount of interest away by announcing the 36M-Pix D800 and D800E models the month before. Be that as it may, there’s no denying the 22.3 M-Pix EOS 5D Mark III is a remarkably capable camera, and a formidable rival to the Nikon.

After years of unadventurous, unexciting “slow” speed zooms “fast”, high-quality primes are experiencing a comeback thanks to the popularity of full-frame DSLRs and the merging of video capture. The moderately wide 35mm focal length has seen numerous new versions from most lens makers over the last two years or so, including this ultra-high speed offering from Sigma. Read on to see how well this lens fares on the highest resolution DSLR currently available.

Announced in 2012, the Nikon D800 is the current undisputed king of DxOMark, with results that eclipse every other camera from all other manufacturers. However, with so much resolution on tap, the question is, which lenses should you use to make the best of what you’ve got? The DxOMark labs have tested 61 different lenses on the D800 to bring you an unparalleled resource of which lenses are best and which should be avoided. To make it easy to follow, we have broken the reviews down into sections so you can concentrate on the lenses that are important to you. This first section will give you an overview of the D800. We will follow this with a review of the standard focal length lenses, then the telephoto lenses and super-zooms and finally there will be a wide-angle review.

Leica enthusiasts are getting excited as the revered German manufacturer looks set to ship their new M Type 240 digital rangefinder very soon. Featuring a brand new 24-megapixel CMOS sensor, the latest model in the M Series departs from the CCD sensor technology Leica have previously used. So as we await the new, let’s look back at the Sensor Scores for the M9, M9-P and M-E Type 220 using that CCD Sensor, to get us in the mood.

A noise benchmark of 187 digital cameras by Peter van den Hamer

DxOMark Camera Sensor is a raw benchmark for camera bodies by DxO Labs. The benchmark is “raw” because it measures image quality using Raw output files. It is also raw as DxO’s data can be used to cook up camera reviews that cover more aspects than image quality.

The new Sony SLT Alpha 99, Sony’s first full-frame DSLR equivalent in three years, combines the company’s latest and greatest 24.3-megapixel Exmor CMOS sensor with its SLT (Single Lens Translucent) technology to deliver impressive image quality combined with fast and continuous autofocus while shooting still images and videos.

Adding a new line to the Canon EOS range, the EOS 6D is a fusion of the EOS 7D and the EOS 5D Mark III, that also includes some trickle down technology from the EOS-1D X. How does the EOS 6D fare against its competitors and more illustrious stable mates? Our tests reveal the answer.

Announced in September 2012 along with the Pentax K-5 II, the Pentax K-5 IIs is an almost identical camera with the exception that its anti-aliasing filter, used on the K-5 II to minimise the unwelcome effect of moiré, has been removed. But does removing the filter impact on the outstanding DxOMark Camera Sensor Ratings achieved by the K-5 II? We dissect the K-5 IIs Camera Sensor Ratings to find out.

Pentax’s new version of their very accomplished K-5 model manages to retain the top position in the Semi-Pro DSLR category against some very tough competition. Should we be disappointed that it fails to score higher than the K-5? Not really, the K-5 II incorporates a number of technology updates without damaging what was, in the K-5, a very good formula.

By replacing two predecessors with the Canon EOS-1D X, its new flagship professional DSLR, Canon hopes to deliver both the top-notch image quality of the studio-oriented Canon EOS 1Ds Mark III and the superfast performance of the Canon EOS 1D Mark IV sports shooter. A compromise of sorts between speed and image quality, the 1D X manages to deliver enough improvements to satisfy both markets.

Finally, a Sony full-frame DSLR: the last one was the Alpha 850. But though the new full-format 24Mpix camera shines with all of its new technology and features, it now belongs to the family of cameras with electronic viewfinders instead of with the Alpha 900 and its traditional DSLR viewfinder. With this new positioning, Sony stands out from among the leading lights in this market segment.

Three-and-a-half years after the release of the full-frame reflex EOS 5D Mark II, Canon finally unveils its successor, the EOS 5D Mark III, a reflex camera that takes several significant qualitative and functional leaps forward by borrowing the latest must-haves in photo technology from the EOS 7D and the EOS-1D X.

Three-and-a-half years after the release of the full-frame reflex EOS 5D Mark II, Canon finally unveils its successor, the EOS 5D Mark III, a reflex camera that takes several significant qualitative and functional leaps forward by borrowing the latest must-haves in photo technology from the EOS 7D and the EOS-1Dx.

Despite its success with its latest high-end camera models (the Nikon D3s and D3x), Nikon had yet to respond to the great success of the Canon EOS 5D Mark II, whose superior resolution and numerous features (notably with respect to video) simply outclassed the aging Nikon D700.

Further readings for the Canon EOS 5D Mark II

To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.

One of the hottest launches from this year’s Photokina trade show, the Nikon D750, has grabbed the attention of serious amateurs and pros alike. Boasting a newly developed 24.3Mp sensor, expanded ISO sensitivity range and a host of features from their pro DSLRs it looks a mouth-watering prospect. Lets take a look at the D750 sensor scores and results to see how it stacks up against the full frame competition.

Released in April 2013, the Ricoh GR goes by the tagline of “Everything is big, except the size”. It points clearly to the raison d’être of this camera – to be a compact model with a large sensor with the aim of offering DSLR-like performance without the size and weight associated with them. As with several models in this niche, it seems to hark back to days gone by with a retro style. While this impacts the versatility of the camera, it’s much easier to make a high quality prime lens that can extract the most from the large, 16megapixel APS-C sensor tucked away inside. Within this sector we’ve seen some very good cameras through the labs in recent months, so the GR has got stiff competition.

Sony is often quoted as having aspirations to rival Nikon and Canon but, since taking over the SLR business of Konica Minolta, has so far shown only a handful of pro-grade lenses. The SAL500F40G is one such lens, more popularly known as the 500mm f/4.0DG SSM, and with a price tag of $13,000 it’s aimed squarely at professionals and well-heeled enthusiasts. We’ve had the opportunity to assess the new lens at our lab in Seattle, please read on to see how the new Sony performs and if it has what it takes to compete with the current Canon and Nikon duopoly.

After years of unadventurous, unexciting “slow” speed zooms “fast”, high-quality primes are experiencing a comeback thanks to the popularity of full-frame DSLRs and the merging of video capture. The moderately wide 35mm focal length has seen numerous new versions from most lens makers over the last two years or so, including this ultra-high speed offering from Sigma. Read on to see how well this lens fares on the highest resolution DSLR currently available.

The high-end Sony RX1 was one of the most eagerly awaited cameras in our labs and while we assessed the camera’s full-frame sensor early in January, we’ve decided to publish the results of the Zeiss-branded Sonnar 2/35 T* lens. Readers will already be aware that it’s fixed, and can’t be purchased separately, but we can test it just as we would any other, albeit on one camera body only. Is this “fast”, moderately wide-angle lens an outstanding performer worthy of the Carl Zeiss name? Read on to find out.

Announced in February 2012, the Tamron 24-70mm f/2.8 lens Di VC USD is the latest full-frame, fast aperture standard zoom from the Saitama, Japan-based optical firm and is the first of its type to add VC (Vibration Control) image stabilization. Costing $1299 and available in Canon, Nikon and Sony fittings (the latter albeit without VC) and featuring USD (Ultrasonic Silent Drive) technology, it’s an obvious alternative to the pricier offerings from the top-names. Could this lens be a contender in the IQ stakes? Read on to find out.

Introduced in November 2012 as the proposed ‘kit’ lens for the EOS 6D, the EF 24-70mm f/4L IS USM lens represents an interesting move for Canon – despite two well respected lenses in this category, the EF 24-70mm f/2.8L USM and the EF 24-105mm f/4L IS USM, the EF 24-70mm f/4L IS USM hopes to offer a compact, lightweight lens suitable for the newly created lightweight, full-frame camera segment. The red L-series band offers the promise of professional performance, but does it live up to the expectations?

Canon were busy in 2012 releasing three wide-angle primes, the EF 24mm f/2.8 IS USM, EF 28mm f/2.8 IS USM and EF 35mm f/2 IS USM, on to the market. The latest launched in November 2012 was the Canon EF 35mm f/2 IS USM as an updated version of the original that dates back to 1990. Featuring Image Stabilization, Canon’s USM Ultrasonic autofocus motor, a ‘fast’ f/2 maximum aperture and wide-angle focal length, it looks a great option for Canon shooters into landscape or architectural photography.

Launched in September 2012, the Tamron SP90mm f/2.8 Di Macro II VC USD lens aims to continue in the same vein as previous Tamron macro lenses by offering very high image quality in a well-priced package that rivals the offerings from the major camera manufacturers. A true macro lens, this model offers full 1:1 lifesize reproduction and includes Tamron’s Vibration Compensation (VC) mechanism to help achieve images free of camera shake even at longer shutter speeds. Also present is their USD, or Ultrasonic Silent Drive, AF motor for fast, quiet AF operation.

Launched in July 1999, the Canon EF300mm f/2.8L IS USM lens has been one of the most popular super telephoto lenses in the Canon range for wildlife and sports photographers alike. As expected for a super telephoto lens with a constant f/2.8 aperture and an Image Stabilizer, it is right at the top of the tree in terms of cost. But does the performance match the price? DxOMark presents the results, including a comparison of the Canon with the Pentax smc DA Star 300mm f/ 4 ED (IF) SDM, a lens also recently tested in our laboratories.

The new Sony SLT Alpha 99, Sony’s first full-frame DSLR equivalent in three years, combines the company’s latest and greatest 24.3-megapixel Exmor CMOS sensor with its SLT (Single Lens Translucent) technology to deliver impressive image quality combined with fast and continuous autofocus while shooting still images and videos.

In the course of the past several weeks, both Canon and Nikon unveiled their professional digital reflex cameras for the next two years to come. With the D4, Nikon has updated a number of points in its pro camera body which cumulatively lead to an entirely new generation of SLR camera.

Three-and-a-half years after the release of the full-frame reflex EOS 5D Mark II, Canon finally unveils its successor, the EOS 5D Mark III, a reflex camera that takes several significant qualitative and functional leaps forward by borrowing the latest must-haves in photo technology from the EOS 7D and the EOS-1D X.

Three-and-a-half years after the release of the full-frame reflex EOS 5D Mark II, Canon finally unveils its successor, the EOS 5D Mark III, a reflex camera that takes several significant qualitative and functional leaps forward by borrowing the latest must-haves in photo technology from the EOS 7D and the EOS-1Dx.

Despite its success with its latest high-end camera models (the Nikon D3s and D3x), Nikon had yet to respond to the great success of the Canon EOS 5D Mark II, whose superior resolution and numerous features (notably with respect to video) simply outclassed the aging Nikon D700.

A in-depth comparative review of the Canon 5D MKII and Sony A900 backed up with dxomark.com IQ database and metrics

Peering at the screen and looking at prints produced results which pretty much matches DxOMark's test results [...]. What we see is that the Sony and the Canon are essentially indistinguishable up to and including ISO 800.